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Krista N. Dalton. How Rabbis Became Experts: Social Circles and Donor Networks in Jewish Late Antiquity. Princeton University Press, 2025
No full textBeing Inspired, Being Possessed: Performative Techniques for the Embodiment of the Spirits in Burmese Urban Ceremonies
Get PDFDance is regarded as the expression of spirit possession in Burma. In nat kana pwe (private urban ceremonies), the nat kadaw (spirit medium) dances, embodying consecutively the Thirty-Seven nats, a defined pantheon of spirits whom devotees propitiate in order to gainhealth and wealth. In embodying these as well as other spirits, the medium moves fluidly between human and animal, masculine and feminine, young and old, refined and harsh spirit characters. The ritual performance is supported and controlled by the clashing sound of the hsaing waing, the Burmese tuned drums and gongs ensemble. Together, the movements of the nat kadaw and sound of the hsaing ensemble make the spirits come into presence in the ritual space, so that humans can interact with them. This paper investigates the affects and effects of spirit embodiment from the perspective of sound and movement analysis. Addressing the Burmese conceptions about spirits and spirit possession, the paper highlights the exchanges of embodied feelings that link musicians, dancers and spirits during a ceremony. Drawing on fieldwork videos and ethnographic descriptions, the paper considers the coming-into-presence of the nat Nankarine Medaw, the Buffalo Mother of Bago, and analyses the different performative techniques (dramatic representation, spirit dance) and mimetic processes through which this spirit person is danced and sounded, thus allowing her concrete and bodily manifestation.Dance is regarded as the expression of spirit possession in Burma. In nat kana pwe (private urban ceremonies), the nat kadaw (spirit medium) dances, embodying consecutively the Thirty-Seven nats, a defined pantheon of spirits whom devotees propitiate in order to gainhealth and wealth. In embodying these as well as other spirits, the medium moves fluidly between human and animal, masculine and feminine, young and old, refined and harsh spirit characters. The ritual performance is supported and controlled by the clashing sound of the hsaing waing, the Burmese tuned drums and gongs ensemble. Together, the movements of the nat kadaw and sound of the hsaing ensemble make the spirits come into presence in the ritual space, so that humans can interact with them. This paper investigates the affects and effects of spirit embodiment from the perspective of sound and movement analysis. Addressing the Burmese conceptions about spirits and spirit possession, the paper highlights the exchanges of embodied feelings that link musicians, dancers and spirits during a ceremony. Drawing on fieldwork videos and ethnographic descriptions, the paper considers the coming-into-presence of the nat Nankarine Medaw, the Buffalo Mother of Bago, and analyses the different performative techniques (dramatic representation, spirit dance) and mimetic processes through which this spirit person is danced and sounded, thus allowing her concrete and bodily manifestation
L\u27usage de l\u27intelligence artificielle dans les décisions de justice: Opportunités et risques
No full textL\u27usage de l\u27intelligence artificielle dans les décisions de justice: Opportunités et risque
La vie rêvée d’Hajeri: Portrait d’Ahmed Hajeri, devenu peintre parisien
Get PDFAbstract : Ahmed Hajeri is a French artist of Tunisian origin who lives and works in Paris. Born in the village of Tazarka, in the Cap Bon region, in 1948, he grew up in a very modest rural family. Orphaned at a young age, he was initially supposed to pursue a career as an electrician, when, at twenty, he decided to leave for France. Upon his arrival in Paris, he worked as an electrical wirer in a factory before applying for a draftsman position with a cultured architect who was close to Jean Dubuffet. This architect, Roland Morand, recognized Hajeri\u27s artistic potential, introduced him to art, and paved the way for his career as a painter. Hajeri fully embraced life as an artist after his first exhibition at Galerie Messine in 1978. He achieved success early on and gained recognition from both the public and Tunisian institutions during his first exhibition at Galerie Médina in Tunis in 1985. He later participated in several international exhibitions. His work is held in French public collections (FNAC), the Institut du monde arabe in Paris, Tunisian national collections (Ministry of Cultural Affairs) and in numerous private collections. With no formal academic training, the artist has developed a body of work that transcends trends and fashions, existing on the border between the real and the imaginary. Floating figures, an anthropomorphic bestiary, and vestiges of Carthaginian civilization populate his compositions. He draws inspiration from childhood memories and dreamlike states, creating paintings, drawings and poems infused with imagination and mystery. Based on interviews and unpublished archives, this portrait traces the artist\u27s journey between Tunis and Paris, exploring the themes and influences that have shaped his work and its critical reception.Ahmed Hajeri is a French artist of Tunisian origin who lives and works in Paris. Born in 1948 in the village of Tazarka, in the Cap Bon region, he grew up in a very modest rural family. Orphaned at a young age, he initially trained as an electrician before moving to France at twenty. In Paris, while working as an electrical assembler, he applied for a draftsman position with the architect Roland Morand, who collaborated with Jean Dubuffet. Recognizing Hajeri’s talent, Morand introduced him to art and paved the way for him to become a painter. Following his 1978 debut exhibition at Galerie Messine, Hajeri fully embraced his artistic career. He gained early recognition from both audiences and Tunisian institutions during his first Tunis exhibition at Galerie Médina in 1985, later participating in numerous international shows. His works are now part of French public collections (CNAP), the Institut du monde arabe in Paris, the National Fund of the Ministry of Cultural Affairs of Tunisia, as well as private collections worldwide. Without formal academic training, Hajeri has developed a distinctive oeuvre that transcends trends, existing at the intersection of the real and the imaginary. His compositions feature floating figures, an anthropomorphic bestiary, and elements of Carthaginian civilization. Drawing inspiration from childhood memories and dreamlike states, he creates paintings, drawings, and poems imbued with imagination and mystery. This portrait, based on interviews and unpublished archives, chronicles the artist’s journey between Tunis and Paris, examining the themes and influences that have shaped his work and its critical reception
Trajectoires artistiques, engagement et héritage du peintre Hamed Abdalla (1917–1985): Entretien avec Samir Abdallah
Get PDFAbstract : Dans cet entretien, Samir Abdalla retrace les nombreuses trajectoires de la vie de son père, le peintre egyptien Hamed Abdalla, entre l\u27Égypte, l\u27Europe et le Monde arabe ainsi que de son œuvre qui, depuis les années 2000, fait l\u27objet d\u27un regain d\u27intérêt. Sur le fond, nous pouvons aussi retrouver les tensions politiques et les conflits qui ont marqué les relations entre le Monde arabe et l\u27Europe et qui ont sans doute influencé la réception et la reconnaissance des peintres issus du modernisme arabe dont Hamed Abdalla fait partie. Cet échange a été aussi l\u27occasion de faire ressortir l\u27héritage politique porté par Samir Abdalla. Ses documentaires témoignent en effet du même engagement de son père envers la question palestinienne.
Abstract: In this interview, Samir Abdalla retraces the many trajectories in the life of his father, the Egyptian painter Hamed Abdalla, between Egypt, Europe and the Arab world, as well as his work, which has been the subject of renewed interest since the 2000s. In the background, we can also trace the political tensions and conflicts that have marked relations between the Arab world and Europe, and which have undoubtedly influenced the reception and recognition of the painters of Arab modernism, of which Hamed Abdalla is one. This exchange was also an opportunity to highlight Samir Abdalla\u27s political heritage. His documentaries bear witness to his father\u27s commitment to the Palestinian question.In this interview, Samir Abdallah retraces the many trajectories in the life of his father, the Egyptian painter Hamed Abdalla, between Egypt, Europe and the Arab world, as well as his work, which has been the subject of renewed interest since the 2000s. In the background, we can also trace the political tensions and conflicts that have marked relations between the Arab world and Europe, and which have undoubtedly influenced the reception and recognition of the painters of Arab modernism, to which Hamed Abdalla belongs. This exchange was also an opportunity to highlight Samir Abdallah’s political heritage. His documentaries bear witness to his father’s commitment to the Palestinian question
Identifying evolution in a fencing lineage through successive written works
Get PDFEven a superficial study of fencing treatises published at different times will readily show that the art of fencing constantly changes with time. However, while large differences between separate treatises are easily identified, pinpointing how these changes develop is much more difficult. One requirement for tracking how a single fencing lineage evolves, is that such a lineage can be identified, and contains sufficient different (written) works that can be studied. Unfortunately, historical European fencing masters rarely documented who they received their instruction from, making it difficult, if not impossible, to identify fencing lineages. One exception to this is the fencing lineage of Paduan fencing master Salvator Fabris, whose fencing lineage can be documented with some certainty, and contains a relatively significant number of treatises by different authors. In this contribution, we will analyse the fencing lineage of Salvator Fabris, and in particular his Caminiren (“proceeding with resolution”) to identify how the teachings within a martial lineage may evolve gradually with time, considering that teachings may develop both as the ideas of individual masters evolve as they gain experience (and age), and as subsequent masters (or fencers) adapt these teachings to their own preferences
Examining the roles of body image perception on the mental health of female athletes in highly aesthetic sports: A systematic review
No full textThe aim of this systematic review was to examine the roles of body image perception and mental health in female athletes participating in aesthetic sports (e.g., dance, gymnastics, cheer). The parameters used to find the existing literature needed included studies that were: published in the year 2020 or after, contained female participants 12 years and older, focused on aesthetic sports, and were written in English. Thirteen articles were ultimately used in this systematic review, of which 62% of conveyed that negative body image perception was common across a variety of aesthetic sports and the athletes’ negative body image perception had a significant negative impact on mental health. Eating disorders were a common result of negative body image perception, as shown in 69% of the articles. Common themes of mental health and risks of eating disorders were identified including a hyperfocus on a thin physique, an association with anxiety or depression, and receiving critiques on their body from coaches, peers, family, and social media. Participants in aesthetic sports should be made aware of the association between body image and mental health. Coaches and athletes should collectively aim to emphasize the importance of training and performance rather than physique to help create a healthy environment for participants of aesthetic sports
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